Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.

A chance encounter on the London Underground in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is difficult to overlook: the rise of far-right politics, the reaction against progressive values, and the return of traditional beauty standards. Replacing the hope of the late 90s, today a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has sparked debate once more.

According to Enninful, the antidote has long been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from music.

"People with a voice should wield it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will fade."

Hope in the Next Generation

He takes comfort in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would define a trailblazing career characterised by boldness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Significantly, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective between worlds."

Contrary to the caricature of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His path has included its share of hardship, including publicly shared battles with mental health and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has led him away from the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.

"Institutions often failed to promote the truly innovative creators because they lacked the traditional credentials," he observes.

This project itself operates on a unique approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful cultural influencers. His path, he states, is a testament to the power of pursuing your passions.

How would the Edward of the 90s make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."